My art is a visual journal of my feelings and insights that transcend language. Each piece is a memoir that reflects an emotional journey, spiritual culture and history, told through the delicate mediums of watercolour, graphite, natural pigments, and gold. These materials ground my work in authenticity, while the use of gold symbolizes the divine presence woven into the fabric of each story. Art is my way of journaling, a way of expressing my inner world.
ਪਾਤੀ ਪਾਤੀ ਜੀਉ
Guru Har Rai
17cm x 23cm
Natural pigments heightened with gold on handmade wasli paper
🌿✨ Guru Har Rai Sahib Ji – a visionary, a healer, and a true guardian of nature. 🌸🎨
This creative rendition celebrates his royal grace, Maharaj with his horse amidst the splendor of Naulakha Bagh – the garden of 900,000 medicinal herbs and plants lovingly nurtured by him. 🐎🌱 The artwork also reflects the vibrant zoo he maintained at Kiratpur Sahib, symbolizing his compassion for all living beings.
Rooted in his profound philosophy, Guru Har Rai Sahib Ji saw life in every leaf, embodying a deep reverence for all forms of creation. This painting is a reminder of his legacy in healing, harmony, and stewardship of nature. 🙏🌏
ਪਾਤੀ ਪਾਤੀ ਜੀਉ
Original artwork is now In a private collection of Davinder Toor
ਮਨੁ ਮੰਦਰੁ | Mann Mandir
੨੦੨੪
12.5cm x 18.5cm
Natural pigments heightened with gold on handmade wasli
Mann Mandir is a deeply personal exploration of my own journey inward, where meditation transforms the mind into a sacred temple. Seated in stillness, I depicted myself as the embodiment of surrender, with a temple emerging from within—symbolizing the divine sanctuary that resides in us all. Through intricate details, soft light, and muted tones, I sought to convey the transition from the material to the spiritual, capturing the profound realization that divinity is not external but found within the self.
Original artwork available on request
ਨਾਨਕ | Nanak
Gouache on paper
19cm x 25 cm
As we celebrate the Prakash Purab of Sri Guru Nanak Sahib Ji, I’m revisiting a painting that holds deep resonance for me.
The inspiration for this piece comes from an awe-inspiring moment in the Janamsakhis. It recounts the instance when Guru Nanak Sahib Ji disappeared into the River Bein, reemerging three days later, profoundly transformed. It was here that he proclaimed, “There is no Hindu and there is no Musalman. There is only one God, and all are equal before it.”
This revelation marked the birth of the Mool Mantra, ੴ “Ik Onkar,” a timeless reminder of unity and oneness.
The painting captures this moment of divine Samaadhi in the waters of the Bein. The inverted portrayal symbolizes the depth of that meditative state and the radiant emergence of the Mool Mantra from within.
May this depiction serve as a gentle reminder of the oneness that binds us all.
Original artwork is now In a private collection of Runjeet Singh
A4 size fine art print finished in 24k gold is available in the shop.
Monkey at his point, Kasauli 2024
13cm x 18cm
Watercolour heightened with silver and gold on paper
Although the correct incident was that the monkey snatched the ice cream I was eating, but let's just say we shared it.
ਜਹਾ ਦਾਣੇ ਤਹਾਂ ਖਾਣੇ ਨਾਨਕਾ ਸਚੁ ਹੇ ॥੨॥
Wherever his food is, there he eats it; O Nanak this is the truth.
Original artwork available on request
ਮਾਈ | Mother
12cm x 18cm
Watercolour heightened with gold on paper
Her name was Bholi (The innocent one), and for most of us, she was the innocent one. Soft, sweet and caring.
Today on her birthday, as I am reflecting on her life, I have realized that she was always a warrior—fierce as Chandi, battling through every corner of life. She stood against society’s expectations, protecting her children, and fighting for her rights within the family. Even when illness took hold, she faced it with the same unwavering strength. Now, she rests, and along with her the fierce spark she had.
Through it all, her heart always held me close, worried while I was far from home. And as I made my way back, all I wanted was to reassure her that her son had returned home with a much greater profit.
ਮਾਈ ਖਾਟਿ ਆਇਓ ਘਰਿ ਪੂਤਾ ॥
ਸੰਘਰਸ਼ ੨੦੨੪ | Sangharsh 2024
11.2cm x 17.2 cm
Watercolour heightened with Gold
An instance from the farmer’s protest in 2024 where the farmers dressed up like soldiers, standing in a war zone-like setup created by the Govt. Of their own country, doing Ardaas for their victory while struggling to enter their own country’s capital city.
Original artwork available on request
ਬਲਦ ਧਰਮ । Dharma the bull
16cm x 19cm (paper: 19cm x 24cm)
Natural pigments heightened with gold on tanned paper
According to Puranas, Dharma (Dharam) is in the bull form and has got 4 pillars (legs) but in each yug, it loses one pillar. And in Kalyug it's only got 1 left.
Dharma the bull should be white actually, but due to the impact of kalyug, it’s now turned into grey/black. With all the legs made of prosthetics, Tags and tattoos on the body just like we have the bulls in the modern world
It's a rendition of Dharma’s state in today's world.
Baaj (Hawk) | ਬਾਜ
10.5cm x 13.5cm (Paper 17cm x 23cm)
Natural pigments heightened with gold on wasli paper
The inspiration came from when my father rescued and heal a baby Hawk and set him free in his space. He still graces us with its presence sometimes, flies around our house or sits on the topmost place on the roof.
In the Mughal period, the goshawk - Baaj was the most prized hawk and was considered to be royal. In South Asia and the Middle East, Kings and emperors kept hawks as a sign of prestige and aristocracy. The Goshawk was considered noble and its prowess in falconry was highly esteemed.
At least four of the ten gurus sahibs kept Baaj, namely: Guru Hargobind Sahib (6), Guru Harrai Sahib (7), Guru Tegh Bahadur Sahib (9), and Guru Gobind Singh Sahib (10).
Many accounts refer to the Guru and the Baaj. One of the famous ones is from the writings of Bhai Nand Lal Goya (Tankhahnama)
ਚਾਰ ਬਰਨ ਇਕ ਬਰਨ ਕਰਾਊਂ। ਵਾਹਿਗੁਰੂ ਕਾ ਜਾਪ ਜਪਾਉੂ। (੫੭)
I will make the four categories into one. I will recite Waheguru recitation
ਚੜੈ੍ਹਂ ਤੁਰੰਗ ਉੜਾਵੈਂ ਬਾਜ। ਤੁਰਕ ਦੇਖ ਕਰ ਜਾਵੈਂ ਭਾਜ਼।(੫੮)
They will mount horses and fly Baajs. The Turks will flee seeing them.
Original artwork available on request
ਤੇਥੋ ਹੀ ਬਲੁ ਰਾਮ ਲੈ ਨਾਲ ਬਾਣਾ ਦਹਸਿਰੁ ਘਾਇਆ ॥
Tetho Hee Bal Raam Le Naal Baana deh sir Ghaiya
(From you only Ram received power and killed ten-headed Raavan with arrows)
17cm x 17cm
Graphite heightened with gold on paper
During Dushehra mahattam (a tradition started by Guru Gobind Singh ji), it is a great opportunity to learn more about your shastra while cleaning and worshipping them. Shastra are another form of Sri Akaal to us. It is the manifestation of Shakti and should be worshipped as such.
ਜਿਤੇ ਸਸਤ੍ਰ ਨਾਮੰ ॥ ਨਮਸਕਾਰ ਤਾਮੰ ॥
While working on this artwork, I followed the tradition and learned the history of a few of the many shastras of Lord Rama from Ramayana. These were:
Sharanga bow - It is the celestial bow of the Hindu god Vishnu known for its indestructibility. a mighty bow capable of shooting arrows that could pierce through the hardest of substances
Indrasatra - the celestial weapon of the Hindu deity Indra, When shot it transformed into many arrows capable of killing many men. Laxman used it against Indrajit. Lord Ram used it against Raavan.
Varunastra - Weapon of Varuna, god associated with sky and water. The weapon brings a large volume of water which washes away a large part of infantry. Lord Rama used the Varunastra to create a path through the ocean so his army could reach Lanka.
Manavastra - the Manavastra is a celestial weapon of Manu that can Carry a target away by hundreds of thousands of yojanas. It also can overcome supernatural powers. Lord Rama used the Manavastra weapon to hit Maricha from a distance with an arrow from his bow.
Varunapasha - The weapon of Varuna, the Hindu god of the oceans, a pasha, which is a noose or rope loop. Not even gods could escape form its grip.
Original artwork available on request
Coming straight from
ਅਥਾਹੁ ਕੁੰਡ । Abyss
12 cm x 18cm
watercolour heightened with gold
ਪਉੜੀ
Pauree
ਆਪੇ ਧਰਤੀ ਆਪੇ ਹੈ ਰਾਹਕੁ ਆਪਿ ਜੰਮਾਇ ਪੀਸਾਵੈ ॥
He Himself is the field, and He Himself is the farmer. He Himself grows and grinds the corn.
ਆਪਿ ਪਕਾਵੈ ਆਪਿ ਭਾਂਡੇ ਦੇਇ ਪਰੋਸੈ ਆਪੇ ਹੀ ਬਹਿ ਖਾਵੈ ॥
He Himself cooks it, He Himself puts the food in the dishes, and He Himself sits down to eat.
ਆਪੇ ਜਲੁ ਆਪੇ ਦੇ ਛਿੰਗਾ ਆਪੇ ਚੁਲੀ ਭਰਾਵੈ ॥
He Himself is the water, He Himself gives the tooth-pick, and He Himself offers the mouthwash.
ਆਪੇ ਸੰਗਤਿ ਸਦਿ ਬਹਾਲੈ ਆਪੇ ਵਿਦਾ ਕਰਾਵੈ ॥
He Himself calls and seats the congregation, and He Himself bids them goodbye.
ਜਿਸਨੋ ਕਿਰਪਾਲੁ ਹੋਵੈ ਹਰਿ ਆਪੇ ਤਿਸਨੋ ਹੁਕਮੁ ਮਨਾਵੈ ॥੬॥
One whom the Lord Himself blesses with His Mercy - the Lord causes him to walk according to his will ||6||
Original artwork available on request
ਮਿਲਾਪ । Union
2024
12.5cm x 18.5cm
Natural pigments on paper heightened with gold
If you see lotus everywhere, its because the story has lotus right at the centre of it.
Inspired from the recent beautiful campaign done by @toraniofficial #leela
ਗਜੇੰਦਰ ਮੋਕਸ਼ ੨੦੨੪
Gajendra Moksh 2024
Graphite on paper heightened with gold
Now in private collection
Story reference from gurbani:
Read how guru Tegh Bahadur ji referred to the story of Gajendra in Salok Mahala 9
ਦੋਹਰਾ
Dohra
ਬਲੁ ਛੁਟਕਿਓ ਬੰਧਨ ਪਰੇ ਕਛੂ ਨ ਹੋਤ ਉਪਾਇ ॥
My strength is exhausted, and I am in bondage; I cannot do anything at all.
ਕਹੁ ਨਾਨਕ ਅਬ ਓਟ ਹਰਿ ਗਜਿ ਜਿਉ ਹੋਹੁ ਸਹਾਇ ॥੫੩॥
Says Nanak, now, the Lord is my Support; He will help me, as He did the elephant (Gaj: Gajendra the Elephant). ||53||
Gajendra Mokṣaḥ (Sanskrit: गजेन्द्रमोक्षः) or The Liberation of Gajendra is a Puranic legend from the 8th Skandha of the Bhāgavata Purāṇa, a sacred text in Hinduism. It is one of the famous exploits of the preserver deity, Vishnu. In this episode, Vishnu came down to earth to protect Gajendra, the elephant, from the clutches of a crocodile, alternatively known as Makara or Huhu, and with Vishnu’s help, Gajendra achieved mokṣa, or liberation.